Started in 2006, China Shenzhen International Piano Concerto Competition has been successfully held four times so far. It is a professional competition that has received widespread attention and recognition on the international classical music stage. The competition provides a professional performance platform for outstanding young pianists from all over the world, to help them realize their musical ideals and broaden their career in the piano field. In addition, the competition not only actively focuses on the post-race dynamics of the players, but also aims to promote their continuing professional development.
The 4th Shenzhen International Piano Concerto Competition was successfully completed in June 2017 at Shenzhen Concert Hall. The contestant Yanfeng Tony Bai (Tony) finally won the championship in this international competition that brought together the world’s authoritative piano masters and top players, which started his way to the international piano stage. After the competition, the organizing committee has been promoting the development of Tony’s piano career. It not only facilitated his cooperation with Shenzhen Symphony Orchestra to perform at the 5th Shenzhen Mozart Music Festival in 2019, but also recommended him to the World Federation of International Music Competitions for an exclusive interview.
Founded in 1957, the World Federation of Music Competitions (WFIMC) is a global network of internationally recognized organizations dedicated to identifying the most promising young talents in the music. While providing a forum for dialogue and exchanges between its members, WFIMC gives guidelines, aiming for artistic excellence, integrity and fairness, and thus sets a globally recognized standard. WFIMC is also a member of the International Music Council of UNESCO in Paris. Up to now, WFIMC is comprised of over 110 international music competitions, of which only five are held in China, and the Shenzhen International Piano Concerto Competition is one of them.
The following is the interview:
Q: Because of the pandemic, live streaming and digital concert halls have increased a lot. Will this be the future of classical music?
A: During the this pandemic period, I did live streaming concerts, started to teach students online, post more videos on internet to get connection with my audiences. I would not say that is the future of classical music, because most of the magical moments I had with music as a performer or as an audience happened inside the concert hall. However, it is a period of time for all of us to think about how to use these new technologies to make some new approach of sharing our arts.